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Picture IFHE CATALOG (Textile & Design Exhibition Review) REVIEWS OF DESIGN IFHE Textile & Design Acting Chair: External Review Members: Rachel J. Eike, Iowa State University, USA • Amy Dorie, San Francisco State University, USA • Pimpawan Kumphai, University of Central Michigan, USA A total of 17 pieces were accepted through the peer • Jessie Clayton, Florida State University, USA review process for showcasing in the 2020 World • Laura Kane, Framingham State University, USA Congress of the International Federation for Home • Mercan Derafshi, Indiana University of Pennsylvania, USA Economics (IFHE). Each design was blind-reviewed by 3 • Armine Ghalachyan, Washington State University reviewers and assessed on: Pullman, USA (a) Conceptual Review & Concept, All Textile and Design submitters were recruited for (b) Visual Impact and Aesthetics, inclusion in the blind reviewing process along with the (c) Process, Techniques, & Materials, & external reviewers. (d) Cohesion & Contribution. As the 2020 World Congress was canceled due to the In this international Textile and Design juried exhibition COVID-19 Pandemic, Textile and Design submissions are review, 21 submissions were received across all display featured through this digital catalog. Submitters may choose categories (dress form, wall mounted, or table display), to showcase their creative works in the exhibition during yielding an acceptance rate of 80.9%. Congress themes the rescheduled 2022 IFHE World Congress, although present in the 2020 Textile and Design digital catalog include: citation of work should be linked to this 2020 digital catalog. Gender Equality, Responsible Consumption & Production, Clean Water & Sanitation, and Good Health & Well Being Every four years the International Federation for Home Economics (IFHE) hosts a World Congress. IFHE is the only worldwide organization focused on Home Economics. It is an International Non-Governmental Organisation (INGO), having consultative status with the United Nations (ECOSOC, FAO, UNESCO). IFHE-US and Family and Consumer Sciences colleagues from across the United States gather to celebrate all scholarship involving disciplines impacting families/consumers. The World Congress events include a pre-Congress for educators, plenary speakers, research presentations, exhibits, opening and closing ceremonies, Abstracts accepted for the 2020 Congress must a welcome dinner, home visits, and a banquet. Additionally, a new be resubmitted for 2022; they may be the event for the rescheduled 2022 World Congress includes a same, updated or new. New authors are also ‘Learning Day on the Move’, which incorporates educational and encouraged to participate. Submissions will be technical excursions in and around Atlanta, including the accepted from June 1-August 31, 2021. University of Georgia-Athens. The theme of the IFHE 2022 World Congress is Visit the following link to learn more about IFHE and the upcoming Home Economics: Soaring Toward Sustainable 2022 World Congress: https://web.cvent.com/event/ec0dcde7- Development. 3a47-494c-ba86-269439400fa3/summary This is to all who refuse to get involved!: The vortex of Black protest propaganda This is to all who refuse to get involved!: The vortex of Black protest propaganda This is to all who refuse to get involved! The vortex of Black protest propaganda People of the Black diaspora have been protesting for their human rights for decades. Protesting for inclusion and equality has been in the past and continuous to be, a vortex of propaganda. Today, many Black people are living in a second form of slavery—a slavery of poverty, a slavery of conspicuous consumption, a slavery of lack of education, and a slavery of self hate. Our inner city ghettos are the proof! The fact that only 15% of Blacks attain a 4 year degree (U.S. Census, 2017) is the proof! I am calling to action all of my brothers This is to all who refuse to get involved!: The vortex of Blackand protesistersst propagan. I am a continualda work in progress striving for abundance. I don’t want to be the lonely success—get involved, join me! This piece is inspired by a photograph taken in the 1970s by Kent State University’s Emeritus Professor, Timothy Moore. As a student at KSU in the 1970s and through to the current day, Professor Moore rallied for Black human rights. The photograph is of KSU alum, Mr. Silas Ashley (’74), who was standing in front of Rockwell Hall protesting the Vietnam war. He and hundreds of other students created headstones with messages to represent the lives lost in the war. Approximately 125 of the students protesting that day were arrested. After attaining permission from Professor Moore, I manipulated the photo via Photoshop into a reflecting vortex-like print. The message on Mr. Ashely’s tombstone along with the Black Power icon created into a flower motif was developed into a print used on the train of the dress. Both were printed on the bias of silk shantung. Mr. Ashley stood in front of Rockwell Hall during the time when the building housed the University President, this was extremely significant, so I was inspired to recreate Jerry Silverman’s 1970s dress. Of course Rockwell Hall is now the home to the Fashion School. This work is a commemoration to the social justice protests of the many students past and present. It is also a call to push Blacks toward a renewed identity and purpose. Tameka Ellington, Kent State University, USA Women's Athletic Compression Sportswear A partnership between apparel design and kinesiology found female athletes are increasingly given compression garments to wear under their uniforms. Limited studies have investigated how females psychologically feel about wearing compression garments. Prior research shows female athletes psychologically adopt new garments to display physical-performance enhancement and to symbolically strengthen their identity and role as an athlete. For years, female athletes have been challenging hegemonic femininity by embracing their muscular bodies while psychologically maintaining their femininity. Yet, garment fit dissatisfaction is still reported by woman athletes, mainly due to their muscular physique not fitting properly into garments made for the public. The objective of our project was to investigate female athletes’ perceptions of compression garments by looking at gender and athletic identities, fit satisfaction, and then develop compression garments to fulfill their needs. After IRB approval, 88 collegiate female athletes with experience wearing compression garments completed the survey. They revealed compression garments were gender neutral, did not increase their femininity, barely enhanced their athletic identity, and were slightly satisfied with fit. Prototype compression garments, made with super stretch compression, bonded compression, and a mesh lining, were then designed using drafting, flat pattern, and draping techniques. The kinesiology partner and a professional athlete provided beneficial feedback on movement requirements needed for athletes and fit improvements. Overall a total of 7 prototypes were construction, analyzed for fit with an infrared camera, and performance tested on an athlete. The final prototype garments was then performance tested on 20 women athletes. Feedback on the entire ensemble included a feeling of being “powerful” along with increased athletic and feminine identity, and strong satisfaction on garment fit, mobility, and comfort. This piece was exhibited and received an award at the 2020 ITAA annual conference. View https://itaaonline.org/page/DesignCatalogs, pg. 28. Dawn Michaelson, Baylor University, USA Sis Alligator Meets Trouble Sis Alligator Meets Trouble Sis Alligator Meets Trouble Virginia Hamilton, acclaimed author, understood the significance of African diasporic stories to American history. In 1985 she wrote about the Gullah tale, Sis Alligator Meets Trouble Bruh Alligator Meets Trouble. The story goes—in the beginning, there was Bruh Rabbit who complained about his hard life to his neighbor, Bruh Alligator. Now, when God first created Alligator, he was born with beautiful soft white skin. During their conversation, Alligator boasted on his wonderful life. Rabbit, frustrated with Alligator’s bragging, thought to teach him a lesson. Rabbit asked if Alligator would like to “meet” trouble. Alligator obliged, and on their next encounter, Rabbit secretly ignited the grass field where Alligator was waiting on his friend Rabbit. The stinging of the sudden blaze on the smooth white body of Alligator burned his skin to the rough dry shell we know of today. Stories such as this are often referred to as pourquoi tales because they explain why certain aspects of nature are the way they are. Most lead characters in African fables are male; thus, it was important to interpret this story in the form of designed art from a feminine perspective. The creation of this piece began by draping/drafting the pattern, then cutting the dress from leather. To allude to the transition of soft smooth skin to rough bumpy skin, I used white lambskin on the main body of the dress and embossed alligator leather sewn behind openings of the lamb skin. In the story, the alligator suffered the consequences of being boastful; therefore, brass grommets were used to symbolize the internal emptiness that the alligator felt after its tragic physical transition. To elude the effect of fire, several layers of gold and red tulle were sewn to the lining of the dress. The purpose of producing this work was to promote curiosity of the Gullah people (formerly enslaved Africans) who developed
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